Aerial view of I-110 and I-101 freeway interchange, Dodger stadium (detail), ”Dick” Whittington Photography Collection, 1924-1987, University of Southern California, Los Angeles.

Previous post: On Disorientation (I) – The History and Pathology of a Concept

In a sense my entire thesis is an explication of a single passage, one of the most striking, in Kevin Lynch’s classic 1960 work of urban planning theory, The Image of the City:

To become completely lost is perhaps a rather rare experience for most people in the modern city. […] But let the mishap of disorientation once occur, and the sense of anxiety and even terror that accompanies it reveals to us how closely it is linked to our sense of balance and well-being. The very word “lost” in our language means much more than simple geographical uncertainty; it carries overtones of utter disaster. (p. 4)

The primary concern of Lynch’s work was city design – with how we might build or remodel cities to be highly legible, thereby minimising their tendency to disorientate residents and making them more pleasant, satisfying places in which to live. His evocative descriptions of the trauma of urban disorientation are the point of departure for my own analysis of Los Angeles fiction and cinema.

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